Pop Songstress Ginny Blackmore on Her Breakout Song 'Bones'

This on-the-rise New Zealand artist is riding the radio waves to the top.

"I never really wrote for other people intentionally," says 27-year-old singer-songwriter Ginny Blackmore. "I just wrote a song and if someone wanted it, I'd debate whether or not to give it away." The Auckland, New Zealand native got her big break when Christina Aguilera and Adam Lambert, among others, heard her music and asked if they could record her songs for themselves. Since then, Ginny has unmistakably stepped into the artists' shoes, landing her an Epic Records deal and a slot on the top 40 charts—all before the release of her first record. She's gaining rapid industry buzz for her chill-inducing pop ballad "Bones," and is effortlessly fitting into our music collection beside songstresses like Demi Lovato and Kelly Clarkson. But what sets the rising singer apart is that she's as DIY as it comes when she's making her own music. Case in point: In the liner notes for her upcoming debut album, you'll find the name Ginny Blackmore under composer, vocalist, producer and engineer—she does it all!

We sat down to talk to the up-and-comer about finally stepping out from behind the music and into the spotlight, about her nerve-wrecking meeting with legendary music exec L.A. Reid, and about what it takes to really make it in the industry.

What was it like discovering Christina Aguilera wanted to record your song?
She was looking for a big power ballad and my manager at the time played her "Sing For Me," and she loved it! I said yes because it's Christina Aguilera. I cried, actually, over that song because it's my favorite song that I've ever written. Word for word I wrote it about myself. So to give it to her was a good idea, but it was definitely still painful. I actually cried a lot over that one. But then I wrote "Bones" and I was like, "Yeah!" So I held on to that one.

When did you first realize you wanted to become a singer?
The first moment was when I saw Sister Act 2. Lauryn Hill just blew me away. The second was when I starred in The Wizard of Oz as Dororthy when I was 11—I had been involved in music my whole life and done heaps of musical theatre and was clearly passionate about it. I sat on stage in my little blue dress with my actual dog in my lap trying to keep calm while singing "Somewhere Over the Rainbow." I was just giving it my everything, and people were crying! That's when I thought, "Maybe this is what I should be doing."

Were your parents supportive of your decision to drop out of school?
I remember bawling my eyes out, and I was like, "If you don't support me, I don't care. I'll move out!" And then they realized that I was dead serious, so my parents let me do it, but on the condition that I treat it like a job—nine to five. My dad kept a really close eye on me. I was allowed an hour lunch break. Like, I'd break for lunch and watch Dr. Phil and then when the time was up, he would come turn off the TV and I'd have to go back in my room and write another song. They let me do that for years until I felt that I was ready to move overseas.

Who are your dream collaborators?
D'Angelo, John Mayer, and Rihanna. D'Angelo's music is amazing. His voice is ridiculous and he's just hot. I think John and I would do a really cool song together—it would be different, but it would be cool. And Rihanna is just the coolest thing ever. Her voice is amazing!

You've mastered writing, performing engineering, and producing. Is there anything else you want to accomplish?
There's not really a part of the music-making process that I'm not interested in. I'm passionate about mixing, engineering, producing, and writing—all of it. My hope one day is to win a Grammy for a song that I write, perform, engineer, mix, and master. That would just be my ultimate dream.

What was it like when you first met L.A. Reid?
I was actually supposed to fly to London that day. I was at the hotel, packing my bag, when my manager called me and said, "I'm picking you up in ten minutes. You're going to showcase for L.A. Reid." My hair was a mess and I didn't have my makeup on—I definitely did not look prepared for a showcase! I walked into his office and he said, "Who are you? What's your name? Where are you from? Stand up and sing." I had never really sung "Bones" live before, hardly ever. So I wasn't nervous at all—until the moment that I started to sing.

How did he react?
L.A. looked at me and he was like, "I just don't know. You're shy. Superstars aren't shy." He tried to push me really hard to see if I would break or crack. And I didn't. I just got more and more sassy. He told me, "I really believe in you and I love the song and I love your voice. I think you're amazing, but this is America. You can't walk into a room like you're not the superstar." So, he called the whole company into his office to listen to me and I sang it again. The second time it was great! People were crying and everything. L.A. picked up his phone and walked out of the room to talk to his lawyer. All I heard him say was, "Whatever I have to do!" And I signed that night.

What advice do you have for those who aspire to be in the music industry?
Everybody should learn how to push "record." When you're making music, what comes out when you're by yourself is very different to what comes out when you're with other people. In a studio environment, you have people judging what you're doing, so you don't go all the way with it and you don't try out new things. I love "Bones" and because I engineered it myself, I went all the way with it, and I wouldn't change a thing.